picasso and braque

Juan Gris’s “Breakfast”

Juan Gris was born #onthisday in 1887. Gris favored the papier collé technique invented by Georges Braque and Pablo Picasso. In Breakfast, the artist combines abstract collage with tromp l’oeil drawing, calling the perception of reality into question. Learn more.

[Juan Gris. Breakfast. 1914. Gouache, oil, and crayon on cut-and-pasted printed paper on canvas with oil and crayon. Acquired through the Lillie P. Bliss Bequest © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris.]

Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso—who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo’s major tributaries. It is easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907.

In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond the sight of traditional European realism.

The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as of those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa’s artists a freedom those in Europe had not yet discovered.
—  Adam Hochschild, King Leopold’s Ghost
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Wassily Kandinsky Wodcuts,t XXe Siècle, 1911.

These prints are from the second edition printed under Kandinsky’s supervision and issued in Paris for XXe Siecle in 1938 by G de San Lazzaro. The edition was 1200 - although many of these impressions were destroyed during the war.

XXe Siecle (Chroniques du Jour) was a deluxe art revue that was the source of many outstanding prints. It was published by Gualtieri di San Lazzaro from 1938-1939, and again from 1951 until 1978 (known as the Nouvelle Serie). Many important artists contributed original prints, including Miro, Picasso, Chagall, Braque, Villon, Matta, Indiana, Rosenquist, Lam, Dali, Zao Wou-ki, Matisse, Duchamp, Delaunay, Ernst, Poliakoff, Soulages, Leger, Moore, Kandinsky, Agam, Arp, Calder, Magnelli, Baj, Marini and Vasarely.

(via eBay)

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Drawings and Watercolors of Paul Cézanne

Paul Cézanne (1839–1906) was one of the most influential artists of his day, producing work derived from “the most acute sensibility at grips with the most searching rationality” according to his friend, the writer Joachim Gasquet. Honoring tradition while also challenging it, his example made possible the advances of numerous younger artists such as Henri Matisse, Pablo Picasso, and Georges Braque, thereby paving the way for the emergence of modern art.

Cézanne’s novel approach was evident as much in his drawings and watercolors as in his oil paintings. While the hundreds of drawings that the artist left behind in his sketchbooks confirm the centrality of this medium to his artistic practice, his watercolors from the 1890s were undertaken as works of art in their own right. These latter efforts — most of them landscapes and still lifes executed in Provence in the South of France — rank among the finest achievements in this difficult medium from any period.

This beautifully illustrated volume traces the development of Cézanne’s style through his works on paper. Diverse in subject matter and execution, his drawings and watercolors include copies of other masters’ works, studies of his immediate family and their domestic surroundings, and preliminary ideas for finished compositions. They reveal Cézanne as someone deeply committed to devising a process for comprehending and recording the world as he saw it. The result is some of the most absorbing art ever created.

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Cubism: The Leonard Lauder Collection
This groundbreaking new history of Cubism, based on works from the most significant private collection in the world today, is written by many of the field’s premier art historians and scholars. The collection, recently donated to The Metropolitan Museum of Art, includes 80 works by Picasso, Braque, Gris, and Léger and is unsurpassed in the number of masterpieces and iconic pieces deemed critical to the development of Cubism.
 
Twenty-two essays explore various facets of Cubism from its origins and consider small groupings of works in light of specific themes—such as a study by neuropsychiatrist Eric Kandel on Cubism and the science of perception. Also included is a fascinating interview in which Lauder discusses his approach to collecting. This is a work to place beside other great histories of Modernism.  It is a comprehensive, copiously illustrated book that offers a greater understanding of Cubism and will stand as a resource on this pioneering style for many years to come.

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Amrita Sher-Gil was born on the 30th of January, 1913, in Budapest, Hungary. She was the daughter of Sikh aristocrat scholar and Hungarian-Jewish opera singer mother. She began to formally learn how to paint at the age of eight, although she had been painting already since the age of five. In 1924, when she was eleven, she moved to Italy and enrolled in an art school in Florence. It was here that she was exposed to the old masters works, but she moved back to India that same year. She eventually moved back to India to live full time, from which she drew her inspiration, and was particularly inspired by the Mughal and Pahari schools of painting and the cave paintings at Ajanta. She sought to express the way of Indian life, and the plight of those in poverty and despair. She wrote to a friend on the matter, saying “I can only paint in India. Europe belongs to Picasso, Matisse, Braque…. India belongs only to me”. She died on the 6th of December, 1941, just days before her first major solo show at the age of only 28.

The painting above is called Tribal Women, and was completed in 1938.

Cubist Masterworks at the Met

In the magazine this week, Peter Schjeldahl reviews a show at the Metropolitan Museum with works by Picasso, Braque, Gris, and Léger:

“Cubism is hard. It was meant to be. That fact, coupled with the style’s subsequent penetration into all manner of visual and intellectual culture, assured it immortality. Sometimes I think that I don’t like Cubism, while knowing that that’s not a good enough excuse to ignore it. Cubism is artistic modernity’s master key.”

Above: Picasso’s “Nude with Raised Arm and Drapery” (1907), from the Lauder collection. Image © 2014 Estate of Pablo Picasso / Ars, NY.

“Except in photojournalism, there will be no such thing as a ‘straight photograph’; everything will be an amalgam, an interpretation, an enhancement or a variation – either by the photographer as auteur or by the camera itself.”

As we tumble forwards into these unknown territories there’s a curious throwback to a moment in art history when 100 years ago the Cubists revolutionized ways of seeing using a very similar (albeit analog) approach to what they saw. Picasso, Braque and others deconstructed the world and reassembled it not in terms of what they saw, but rather in terms of what they knew using multiple perspectives to depict a deeper understanding.

While the photographic world wrestles with even such basic tools as Photoshop there is no doubt that we’re moving into a space more aligned with Cubism than Modernism. It will not be long before our audiences demand more sophisticated imagery that is dynamic and responsive to change, connected to reality by more than a static two-dimensional rectangle of crude visual data isolated in space and time. We’ll look back at the black-and-white photograph that was the voice of truth for nearly a century, as a simplistic and incomplete source of information about what was happening in the world.

anonymous asked:

Hi this is an ask for the mun um I'm a beginner at art and wanted to know if you had any tips on coloring in people? (Their skin and stuff) everytime i try it comes out looking bad )'; So i wanted to know if you had some tips for me?

Hello, bananon! Alright, eventhough I said I’d be on hiatus with art and stuff, I simply couldn’t ignore this. I apologize for the delay, as I tried to work on materials to show you how I do my stuff. I’ve never seen your artwork, so I can’t tell you exactly where you need to work on, so I didn’t knew what exactly you were looking for, so I’ll give you and everyone a walkthrough on how I color in general. English is not my first language so expect mistakes, if you don’t understand something, feel free to ask!. It’s gonna be long so sit tight.

Ok, first things first I get my sketch

I prefer to do my sketch traditionally because I have a better control over it and has a natural feel to it. Also, no face, because the size of the sketch was too small to draw it in, I normally draw faces and expressions beside the sketch or digitally do them before stepping into the lineart My prefered program is Paint Tool SAI

Lineart

After I defined my sketch I dive in into lineart on a new layer above, here are my prefered brush settings with stability set at S-5 because my hands are a shaky mess. I Named this brush John Cena. I’ll explain how I do lineart some other time, but in general, I make sure the outer lines are closed and without gaps.

Selection

Choose the magic wand tool and slect the outer area of the character or whatever you’re coloring. 

Before I go in and expand my selection, I go ahead and fix imperfections and major lumps the magic wand failed to reach. Like the ones I circled above, let’s get rid of em lil shits! :U For the lumps circled in red, I used the selection tool that has it’s brush settings similar to my John Cena brush. For the one circled in orange I use the magic wand.

Now it’s all clean and sparkly!

Now go up and choose selection and then increment ( or expand, whatever program you use todo digital art )

And it should look like this!

Go to selection again and choose invert.

Tadah! We managed to select the entire object without much headache! Now we can finally move to coloring.

Coloring

Make a new layer below your linart layer, name it however you want, and then choose a color you like. I normally like to choose a darkish gray color, but today I’m gonna choose hot pink because I felt like annoying the heck outta Eirik. Use the bucket tool to fill in the selection. This layer will allow you to see paler color ( like skin, eyes, deails ) easily and prevent you of havin gaps within the coloration.

Now before I color, I like to determine the light source and how my shading will look like. I make a new layer above the carbon copy layer.

And determine my light source and shadows. I used very simple shapes with the yellow color, I like to use complementary colors for this. Breaking down an object into simple and geometric pieces will help you understand how an object interacts with the light source and its environtment in the picture, Cubists and Impressionists ( eg. Cezanne, Picasso, Matisse, Derain, Braque, Lhote  ) used this technique into their arts for the same reason. Save a copy of this so you can use it later.

Example 1 - example 2

Up there are practice examples to show case what i mean You can try practice this on your own, take a Hellanistic sculture portrait and trace over them the guides ( I encourage tracing only in practice use and/or if credits and permisssion are asked, don’t do it anyhwere else ). Colore the the lighter side with the warmer complementary color, and the shades with the colder.

Ok back to the tutorial.

Create a folder above the carbon copy layer, and clip it.

Then make another group in it with an actual layer in it ( think of babushka dolls lol ), the entire folder will make eveything inside of it a clipping mask, previnting my coloring to go anywhere outside the carbon copy. Fore each character’s part, I make a different group so I’m organized.I always begin with the skin because it’s beneathe everything. ( clothes, hair, etc. )

See what I mean? If I didn’t clip the group, my colors woul run over like in the picture below.

Shading

Make a layer above your base color, I set the layer in multiply, adjust the opacity how I want and added the fringe effect with a 50-60 ish strenght with the width as thin as possible, this will give my shading a crisp and anime-like look. I’m using the John Cena brush for shading too. Oh and remember the copy of your light and shading guide? Open it up and now we can use it as our shading reference!

I used a dark grayish purple color for the shading. I always prefer to use gray or purple or a combination of both for everything I shade, as they’re the most neutral ( purple being both warm and cold color ) to work with. Avoid using warm colors ( like red, deep pink and orange ) for shading as warm colors don’t enchance the depth of the shadows.

Sometimes, I like to smooth out some parts of the shaddow, to give it a fading and natural look to the character. Like Eirik’s triceps and under his cheekbones. I make a new Air Brush, let’s call this one CroCop!

First I delete some of the shading where the lines don’t meet, using the John Cena brush, then more so with CroCop, and finally, use the bluur tool with a very low opacity and size to smooth it out.Make sure you checked this tiny lil box, this will turn you color into transparency and work as a eraser but with the brush setting you’re working with, neat stuff, huh?

I make a new folder and a new layer in it for clothes. Unlike on my skin layer where I colored in carefreely, I went ahead with John Cena andprecisel outlined the hae of Eirik’s shirt, making sure it had no gaps.

And then filled in the outline with bucket tool, made a new clipped layer above to draw the shirt’s design, then merged the two. 

Now I simply shade it the same settings and options I did with the skin, however, this time, the shading layer is clipped so it doesn’t go over the skin layer. I used the shading guide and references online to get an idea how to shade folds. You should NEVER be ashamed for using references, you have absolutely no reason to be stubborn about it, references are there to help you improve your art.

How I shade pants, depends on what material they’re made of. In this case, i have black leather pants. Because they’re black, the way i shaded them are opposite than what i normally shade. I first color in th dark part, then with the John Cena brush draw in the midtone according to the light souce, and finally, a dark purplish tone as a highlight. Depending on the material, I also like to add a color with CroCop brush. In real life we see this a lot, when the coloration of the background or the surface beneathe us are bounced off and reflects on our skin and other smooth materials.

Now onto the fabulous hair! The same way like the shirt, I first do an outline for the hair following it’s respective shape then fill it in. ( all in a different group and layer that’s above the clothing group ) Because Eirik has a very dark hair, I doodled a purple colored strand of hair to show you how I shade hair easily.

I used a midtoned gray color on a new layer above hair base colorm set the same shading settings ( multiple, fringe, etc ) and shaded the ends of the hair, the red doodle above shows you how the strokes go, like a water sprinkler, it goes from narrow to wide as it follows the hair tip.

I make a new layer between the shading and base layer ( both shading and highlight be set at clipping mode ) I used te base color and set the highlight layer in screen mode to add te highlights. Onwither hair strands I used H shaped strokes, for smaller strands I used a Wi-fi shaped strokes.


Now the final steps, I go over to the lineart layer, make a new layer on top of it and set it as a clipping layer. Then I use a purplish flesh color to color in his scar ( people with very pale complection have purplish scars ) The two colors next to Eirik are what I use to torture him color/draw scars on him.

Finally on the same layer, i take a dark salmon and color the outlines of the skin ( with exception of eyes and tattoos ). This gives a really nice and smooth and natural look to a character.

I colored in the rest and the details the same way like the rest and this is our final product! This is how I typically do my cellshaded works, I hope this can somehow help you!

Extra:

Because Eirik in this picture has rather small eyes, I did a seperate walkthrough on how I do eyes here. ( Sorry about the typos >3>;; )